How to Create a Worship Patch from Scratch in Omnisphere with Atreyu Singleton

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In this episode of the Worship Keys Podcast, we talk with Atreyu “Tre” Singleton—music director, Ableton-certified trainer, and worship leader. Tre shares how he builds worship patches in Omnisphere and Logic Pro, the power of layering sounds, and how AI is shaping the future of worship sound design. He also opens up about his devotional project, Memoirs of a Minstrel, his passion for mentoring young musicians, and why character offstage matters as much as skill onstage. Whether you’re new to worship keys or a seasoned player, you’ll find both practical tools and spiritual encouragement in this conversation.

Atreyu Singleton 

Transcript

Speaker: 0:08

Ladies and gentlemen, welcome back to the Worship Keys Podcast. So glad to have a Atreyu the first time I've heard your name, by the way, where'd that come from? It's an eighties movie called The Never Ending Story. Okay. Yeah, it was, came out in 1985. I don't wanna date myself, but yeah. Okay. That's where it comes. It means the son of many thank you for coming on the podcast. First time I met you, tre was in Birmingham, Alabama for the Know Your Worth Conference and you were killing it on keys. So I was running sound. And tre, you are over there music. You the music director? For your friend Anna. Anna Lenel? Yep. Anna Lenel? Yep. Okay. Pringle. Okay. She was absolutely incredible. Her whole team was incredible Background. Vocalists were great. Drums were great too, man. You guys killed it. And when you're running Sound of Sound guy, it's okay, you have one keys player and a drummer, which is standard for a lot of churches. Yeah. But it's as the keys player, you have to really work hard to fill up the space. Absolutely. And you absolutely did. Talk a little bit about your sound design. Specifically then, and now you are all in Logic Pro. You're gonna, this whole episode is actually, we're gonna see inside of your Omnisphere stuff. Tell us, man, how do you fill up the space like you do? It's incredible. I layer for that kind of conference knowing I wasn't gonna have a bass player. I've layered the, my patches, I had a synth base on the bottom to give me that that deep base feel. Yeah. And it's just filling up that felt filled up the room with the space that we were in. And I also used like different patches, strain patches to give it that. And like you said, we're gonna talk about all of that. About how to fill up a space and you had it mixed right, so it cut through. But that's how I, that night had keys, had a ep, had different sounds to fill it up. But for that conference I had a bass patch on the bottom and I think at that time. I was using main stage. Okay. And working through main stage at the time. And I probably had some omnisphere sounds, but it wasn't the standalone. I wasn't using it as a standalone, VSD. Sure man. Sure. Tell us for all, for everyone who was watching, meaning you for the first time. Where are you from? What's your background with Jesus and with music? Okay, so I am from born and raised in Rochester, New York. Hey hometown. Most of my family is still there. I have nine brothers and sisters. Wow. Huge family. So very family oriented. I moved to Atlanta 10 years ago. Wow. I moved to Atlanta, yeah, decade. I moved to Atlanta 10 years ago. And been here with my wife and son. My beautiful wife and son. Love my family dearly. And just been rocking it out. My background in church I come from a Apostolic Pentecostal church very traditional. I'm talking about before praise and worship teams, testimony, service, and choirs. And I was raised on an organ. And the piano. So that's how I like started influenced by my choir director, choir master, that's an old term choir master named Hyman Bailey. My brother, my older brother taught me my first song, Sebastian Singleton. He taught me my first song and I just started playing from there. My father-in-law was also a. Awesome musician and a pastor. He had perfect pitch learned a lot from him. So he was amazing. So just, I had a lot of influence growing up, but that's like my background. Very traditional. Love it. Rochester, New York. We just had a nae and Casey Powell on the podcast. Awesome. He's amazing. And they're out of faith Church out Rochester. New York. Which you've been in person before. Yeah, I've been in person before. Oh. They have new carpet now. Awesome. And I think new seats I think. And new seats. Yes. Yep. Yep. And I don't know if they always had a drum cage, but they have drum cage now too. Wow. They probably had it for a while, but they got that. So Nice. Nice outfit. Upgrades are going right? Yeah. Nice. Comfy seating, not the benches anymore. Yeah. So you're gonna have to go visit again? I'm gonna have to visit again for a premium experience. Yeah. My brothers played their Levi and Derek Bennett. So they're amazing musicians as well. Oh dude, absolutely. It's stacked, man. Yes. They're, they are stacked there. He's in he's incredible bass. Yeah. Awesome. Yep. And also, I think they got a new sound system in there. I'm definitely gonna have to go back. You definitely do need anyway, bro. Rochester, New York. Pretty cool. Atlanta, Georgia. We're filming this episode in Atlanta, Georgia. Yeah. Really Lawrenceville. Yeah. Georgia. And today's episode's all about sound design. Tell us your journey within software because many keys players. It doesn't matter how old they are, whether they're a 12-year-old here on YouTube watching this video. Whether they're a 48-year-old who wants to get into the digital audio workstation world. The digital world of this modern worship. When did that start for you? Discovering these new sounds, what did you use and what do you use now? So how I got started with Omnisphere is of course I still use logic. Of course, I'm versed in Ableton, to work all of these different dolls. But I started out in pro Tools. Okay. Is like my first dog I started using. That's a big one to start off. Yeah. Yeah. It was huge. My brother started us off with A NPC. Oh yeah. And we were producing in pro Twos, but what year was this by the way? If you don't mind me asking? Early, protos been around early two thousands. Oh, okay. I can't, yeah. It hasn't been that long. It's long. Long. Okay. Early two thousands and Logic's been around since then too. And later on I got into Logic and then my brother introduced me to Omnisphere. He was just saying it's a huge VST and I think we were using it at the time for synths but I didn't even know once I started digging into it. It has everything in there. Okay. Anything you can think of. It has, it even has choir voices in there, right? It even has ambient worship noise. Like it's, it has everything Yeah. In it. But I still haven't went through all of the sounds. I just now stick to my go-tos and if I'm looking for something in particular, I'll go through it. But it will take you months to go through everything. So I started my journey in omnisphere for back then. And I didn't see it used in a church setting until I saw David Parks. He was playing for William McDowell and he was using it as by itself. And I'm like, wow. Like I gotta get into that. And how he was using it was flawlessly. And so that was years ago. And then I started let me figure this thing out. Let me see. 'cause it was amazing. He had everything like in it. So then I found out that he was also using Keys scape in there as well. And so I started to use it. Figured it out. Started to use it as my daily driver, if you will. And use it for everything. Now if I'm in Ableton and I have a keys ring in Ableton, I'm. Probably using Omnisphere and there's different software. I just don't use it right by itself. Now. I use contact and different stuff in contact. I use Spitfire Labs, different stuff like that. Just a plethora of stuff, but usually my go-to is Omnisphere and that's how I got into using that. Now you are an Ableton Live certified trainer. Yes, sir. Tell us about that process. Why'd you do it? Would you suggest others doing it? Yeah. What would you say, man? Yeah, I would suggest yeah, if you, 'cause that's, it is like the way of the world, if you will. It's like cell phones. And at first I was still like running stems out of Logic Pro, but they, there were certain things that I couldn't get around. And it like, repeat and it, and if somebody does know how to do it in logic, that would be great. But at the time they didn't have different functionalities like Ableton. So I was able to, figure out able to, so how did I get into get certified? There was a masterclass during the pandemic that someone was offering, I paid for, and after the course you get certified. And I sat, it was mind blowing. 'cause it was a learning curve for me, but I set through the training, got certified, know my ins and out to where I can teach it to others. Yeah, if they wanna learn, but that's how that process began. I just saw logic, hit its ceiling for live production performance, if you will. And Ableton was the next best thing. And I know now logic has different things, but. Ableton, in my opinion, is beast at life. Yes, dude. Yes. Product playback, all of that stuff. if you were to give advice to a keys player right now, they know how to play piano. They want to get into Daws with all the options. I don't know if you know cookout where it's just there's so many things on the menu. So many things, so many what they call a milkshakes, oh my god, so many milkshake flavors. It's okay, what do, can we, if we simplified it, right? There's so many daws out there. There's not as many daws as there are milkshake, flavors at cookout. But if you were to tell someone right now, if you were to begin that journey, Would you just go all in on Ableton life from the beginning? I'll say it depends on your capacity to obtain information. Okay. I so if your brain can take Ableton, I'll say go for it, because at the end of the day it is pretty much like. Every other doll. It just has, its different things like logic has its things, it's easy to navigate through. Pro two has a thing. I know a lot of mixing engineers right? Uses Pro twos. It's the standard man. It's like standard main stage. I don't see too many people use it, but when I do see it, they usually probably use it as their keys rig. They have different, things in their keys rig. But if you can obtain information. I will go for it. And, we live in an age where you can go on YouTube and learn something in hours if you, yeah. So it's not really that much a hidden thing, like how it was back in the day. You had to search for it and a lot of people are not using it, but now you can. But they say YouTube University is your best teacher these days. So I'll say, go for it. That for me. Logic is very easy. You can just go in, find your sounds easy. Now they have all dolls have now is a search engine. You can find a sound and it's just easy to navigate. So totally logic is like user friendly in that way. So on this subject of ai there are already AI patch builders out there. There are apps. I don't know if you've heard of 'em. Yes. And the Sunday Keys app made by Sunday sounds actually has an AI patch builder Yeah. That they came out with last year, I believe. Yeah. So it's already been a thing for a year. And the thing is, I wanna ask you your opinion on this because Omnisphere, you said it would take forever to go through all the sounds. And honestly, and those that, that are watching can also relate to this. We don't have forever. It's like there's, you get bogged down 'cause there's so much to go through. Yeah. What I think the future is. See if you agree with this and what your take on this. Do you think that in 10 years from now, it's not so much gonna be a matter of. And which sounds, it's just the sounds are all gonna be blended together 'cause they're so good in every accessed anywhere. Yeah. And do you think AI is gonna take over sound design? Absolutely. It's just, like I said, it's just the way of the world. And that's the direction we're going in but for me now, and because you have so many shows, you have so many services, you have so many things you're playing for, it's what is the quickest way to get me there? So when I go sit down, I can just pull up and you still can do that without ai, but you could say if you in a particular setting and you're looking for a certain sound and you don't have time to go through it, it's like, what? How can I get a cinematic piano sound with some reverb. And it pulls it up. It's like the quickest way to get, but that's the way of it. Personally, I just like figuring things out. That's just me. Sure. So I would still be looking for sounds, but for sure if that's the way of, that's, it's gonna turn the way of the world is gonna turn, then I'll say we have to embrace it. What I don't feel like AI can do is take the person away. Yes. Like the driver. Yeah. Actually had the driver of the instrument. And that's going too far. Because we have emotions, we see things in the room, we feel things. A lot of our playing is based on feel, based on what we see. Totally. In that case, no, but doing things a easier way to take out the the work of it. And when we don't have time, I don't, yeah. I don't see no issue with that. Yeah, man. It's crazy. I think with our patch builder. Just like AI in general chat, GPT and others, they take information and. It synthesizes that into a whole ecosystem. So that's how it knows its information. And not to scare people. But that's just what's happening. And the more information it has, the more it knows, the more it can operate. Yeah. Take that in the music world. Don't wanna get deep in a theological or the robots are gonna take over us type arguments. I, robot. Yeah. But like with the piano world and with ai, if we enable in AI within our dolls what's going to happen is. They're going to sample the sounds that we're playing. Yeah. Start to reuse it and resynthesize that into their own algorithm and be able to spit it back out. Be like, oh man. So that patch that you made with your own creation, somehow they got that information. And can resynthesize it like back in the day in the nineties or whatever, when you, when you go, went to go make a patch library for your Yamaha piano in the nineties or two thousands. You go get a mic and you go and you start miking things up. And then this great mix engineer will go in and edit the samples, the velocity layers. And people are still doing that now in 2025. But it's there's a lot of AI coming into play where all that work used to have to do, you don't have to do it as much. The workflow of it all is going to cut in half if not. 25% we're just at 25%. I really that's the quickest thing, and that's why we all have our personal workstations and we set it up a certain way because of the workflow. How can I get to this quicker? How can I do this faster? And that's what all AI is gonna do, is just gonna cut down the workflow of trying to find patches, trying to figure stuff out. So yeah it, it makes sense. It makes sense. And what's scary too, man, is with, on the production side of things, which is we're going into the sound design world today, discussion. And I can't shake this AI side. I love ai. Man, it's so much fun. And maybe this is enjoyable for you guys to hear as well as we're talking. With the production side of things, music production, you have the musician, you have song singer songwriters. You have the song itself. You have musicians that make up that can build around that song, and then you have producers that help arrange that. And really, producers are a huge part of the song. Then you have your mix engineer, then you have your master engineer. What are the most pivotal and creative parts of the whole ecosystem there, ecosystem within that between songwriter, producer, mix engineer, master engineer who has the most creative creativity within that whole ecosystem? Creativity. For me personally, and it's gonna probably go totally 'cause I'm a musician, share it, man. But I feel like lyrics to me I feel like the songwriter. I'm a songwriter guy. I think that's what kind of touched me and I with the music. Of course, it all makes it sense, but then again, you can say. The mixing engineer really makes the song, 'cause they take all of, especially if you have a big production, they take all of it and compress it into a way where it's listenable, right? We can tolerate it and listen to it at all the levels. So they have a huge part. You can say the mixing it, you can say that the the producer, the arranger of the music, because they're giving rhythm, they're giving notes. But I think for gospel music, it's not gospel music without the lyrics. And I feel like the lyrics make gospel music totally. And there's certain things in traditional where chord progressions and different things gives you that traditional feel of church. But gospel is not the gospel without. The lyrics and that are, expressing the gospel through song. So I feel like lyrics in this setting of gospel music and worship music is the lyrics. And then everything comes to add, the nostalgia of it, or traditional gospel or CM, whatever. But totally. Yeah that's my, I would say lyrics, but they all have a vital part. I agree. I think also songwriters. It's the most humane thing. It's like the most heart of the human of humanity. So I think we can't replace songwriting as much because the heart of what we're doing. I think after that it's the musicians and producer. Yeah, for sure too. 'cause you can totally change the vibe of the whole song. Someone came to you start singing something, you start putting some chords to it. But when it comes to after it's fully tracked and everything. Give it to a good mixed engineer makes a world of difference. Like you said, makes it actually sound good. Yeah. Take the raw drums and be like, okay, we're gonna clean this up. But to the point there, there is a little bit of a line I think, and maybe y'all felt disagree, lemme know in the comments, but the singer songwriter and the producer very much on the creative side, very much on the humanity side, and the mix engineer and mastering engineer. Not that they don't have hearts. Yeah. And they don't have souls. Yeah. But it is more, I think it's more of an it's more of an objective art because there's a frequency spectrum. Things need to fit in the frequency spectrum. There is a dynamic floor spectrum. Things need to. Fit dynamically within that. And then there's the three dimensional aspect of the delays. The reverb and the effects. I see where you're going with that. You see what I'm saying? Yeah. AI can. Can duplicate some of those objective things. I'll be honest, I have used my, especially with master, my brother, he mixes and master all of my stuff. Yeah. And there were some times where he got busy with something and I would use. He will mix it, but I would use AI to master it. And all AI would do is say, give us a reference of how you want your song to sound. And I would give him a song. I like the mix and the feel of it. And I would put that in and it will take it and it will give me like three different mixes. This is how it sound balanced, this is how it signed with the highs and all in ai actually. Did that, I was scoring a was like a short film, but it was like a storybook comic thing and he needed music and I couldn't get to my brother, and I just threw it in there and. Sounds great. So I hate to admit that I get what you're saying. I hate to admit it, but that I knew where you were going with the frequencies because Yes, AI will get down to the science of it and make it happen and Yeah, I've, I used it a lot. Isn't that crazy? Yeah. Crazy. It is insane. And here's the thing, and I listen to a lot of things about ai. Sorry if y'all didn't sign up for this conversation, skip ahead, if not, but it's crazy because. It is true with in history. Everyone always chooses convenience, which is unfortunate. Unfortunate, yeah. With. With the typical examples of the horse and buggy then came the cars, right? People can get there quicker now. So they do cars like same thing. And people also were fearful. There were people that did not like, were afraid that like automobiles were going to take over, right? Yeah. And then computers and then cell phones and then, and just goes on and on. Goes on and on. And but the thing is people do choose convenience and if it's faster and it still works. Yeah. Unfortunately. It is gonna be the new norm, so give it 10, 15 years. To our point, you're never gonna really replace the person that is behind the seat, behind the piano. This is the Worship of Keys podcast, right? So if you're on the keys seat, if you're the producer, if you're dictating where the arrangement's going even though yes, AI can write, yes, AI can produce even and do all these things, but what's your end goal and what's the heart of it? Yeah, for gospel and the connection, right? Yeah, absolutely. It's all, and I wanna get, I wanna shift this conversation because you. Focus, and I love being your friend on Facebook, by the way. I don't know if we're friends or if I'm just following a page of yours. No, we're friends. Because you're just love your posts, especially when you made a post about Ableton and everything like that. I love what you share. Love your encouragement. Even your rebuke sometimes, oh lord. But you have such wise words and you care about the musician as a whole. Yeah. The healing aspect of the musician, who they are. I want you to speak a little bit more into that. Yeah. Before you do you do have some meta glasses on, speaking of ai. Oh yeah. Ai. Yeah. Do you like the Ray band meta glasses? I love them. Okay. They're actually my prescription glasses too. That's awesome. But I love them, but it is different stuff. It, we can do. Like how I say, Hey, meta, take a picture. It just, you're gonna see it, it just took a picture. Different stuff like that. You're on camera. No. And different stuff. So it is cool. I can say meta, Hey meta, what's the notes in a b flat, major chord. It can tell me that. And different stuff like that, different whatever. So yeah, this is the way of the world. This is the way of the world. It's speaking to you right there. Yeah, it's speaking to me right there. I heard you like, you were like interrupted, Yeah. Lemme turn it off. 'cause she's just going in right now. 'cause I keep on saying, Hey meta. But yeah, this is the way of the world. Does it light up red when it records or No? It, you'll see the button. This right here. Light up. Okay. Yeah. So other people can be aware that they're being recorded, which is good for privacy. This, which is good. Yeah. For privacy's sake. Absolutely. Yeah. I love 'em. But it, like you said, this is the way of the world. What's gonna be more crazy? It's when we get like Iron Man and we can start to see stuff in it, and that's probably not too far behind. Oh, for sure. But that's gonna be crazy. Really is. I love all this stuff. Okay, cool. You're our first guest that actually has meta glasses. Oh, Lord. I know. It's becoming more and more popular. I've thought about getting some Yeah they're, I'll say Go get 'em. They're pretty cool. They're amazing. I wear glasses all the time, so they're amazing. I want to get And the BTS footage when you're like on the piano. Absolutely. I can do that. I, us, I did a couple videos with me playing keys and, just gives it that like you're sitting at the keyboard. So it's pretty dope. It's pretty dope. So amazing. Okay, so on a more serious topic. You have a devotional that's coming out? Yes, sir. Late this winter, I think December you said? Yes, sir. Tell us about this devotional. Tell us about your heart for ministry. It's called Memoirs of a minstrel. And what another word that's a King James term. Minstrel, just basically musician. I do think there's a difference between a musician that. Plays for God and then a musician that is solely an entertainer. I do think so. If you hear me say minstrel, I'm not trying to say one is higher ranked than the other. It's just more significant in the sense of one plays for God and one is the entertainer. Sure. There's a difference. And so my heart for ministry, just was birthed in me at a young age. Seeing my mom serve seeing my family members serve, been a musician in church since the age of nine years old. Been playing since I was eight years old. So grew up in church serving, that's all I saw. And from my background, church was like our heartbeat. Now people have a lot of options on church and different stuff we have streaming, but like going to church was every Sunday Bible class, every Tuesday. And that's what I saw then. My wife is a pk, a pastor's kid. And my wife is too, also. That's crazy. Their level of service was different. It was not different and the goal, but because you're a pk, like they served with their like whole heart. I can go through stories of my wife's grandfather built their church. From the ground up using their insurance policies. So they have really, it was like different, just the different stories and my father-in-law, how they serve my mother-in-law, seeing how they serve. Just like I said, just like my family. But just, seeing it in between. The pastor's point of view and their children and family. And Mo most of them are all of 'em, yeah. Are still in ministry serving the same way and everything. That's my ministry background. But playing in church was being a musician. I started out on drums. I was a drummer's drummer. Okay. Like from, yeah. Drummer. Started out that way. And like I said, my older brother taught me my first song and went from there. So always had a service for ministry, but as I'm going through life, I didn't have that. Person to walk me through the adolescent stages the teenager, and not having that individual to walk me through how to. Of course I have my parents there, in our, where we, most of musicians are entrepreneurs and we're working for ourselves, right? Balancing different things and different stuff like that. Having didn't have that kind of person to walk me through, did I have individuals show me, oh, this is how you play keys. Absolutely. This is what you do in certain situations, but outside of off the stage, like when life is happening. I once you grow older and that you make your mistakes and whatnot, I have to be that for this generation. The person that I didn't have, I have to be that now. And being a music director, having to deal with different personalities and different band mates and learning, technically you learning, you're pastoring your team. And through discipleship being there for them. So being the person that someone can come through tre, how do I get through this? So that's how I grew a heart for just. Being a mentor, if you will. 'cause being that what I didn't have growing up and that's how I gathered, that heart for ministry and yeah that's who I am. And just from a holistic standpoint. We can learn keys in a good three months, we can go like YouTube University, we can have people. But the character behind your gift is so important. It's both. And you have to be skillful in what we do. 'cause we don't wanna be a distraction in service. We don't wanna be messing up like, what's that? But also your character is just as important. How you live is important because we're playing for. God, of course. But if what we do off stage is not our witness, if it's tarnishing our witness then what good is it? We're just doing it. But this is more than a hobby. This is a calling. I believe every musician that plays in church, it's a calling because we are ushering people into the presence of God. What would you say to someone who doesn't have mentorship right now what could they do to seek that out? So for me. Finding someone that is at the place that you want to be at is first and foremost someone that has, that seems common sense, but it's really not. Yeah. It's really not. So people don't put that together. Yeah. Yeah. But getting in connection. Even we have social media and don't be afraid to reach out, DM someone. But looking at someone's life and saying, I want to be there is like your first kind of, gut feeling or, intuition if you will. Whatever that I'm looking at. I'm getting mentor because I want to be at a place where that person has blazed a trail. We are in the same kind of, genre, if you will. And reaching out to them, but with mentorship, the person just didn't get to where they're at just because. It takes a level of discipline, and that's what mentorship really is basically you're being disciplined in the area to take you to that next level. So first and foremost, are you a teachable individual? Because mentorship is not gonna work if you're not teachable. If you think you already know it all, it's not gonna work. Yep, yep. So that's a one way. To reach out if you're somebody that you were around all the time, just going to ask, do you mentor? I would love to be mentored by you, or it don't even have to start off as mentor. I would love to learn a few pointers from you in your field of work, whatever it is. In this case we're talking about musicians and and just reaching out, but also realizing that mentors. Are not going. Mentors really don't baby you, so it's gonna be dec on you. To reach out and to be persistent in that. Because they're not gonna be like oh, he asked me to mentor let me mentor mentors. And people like that have tons of people. And it's, it is on you to reach out and keep that follow through going what you, what should I be working on this week or whatever. And don't get discouraged in that because you have to reach out. That's just how it is. And if it's a good mentor, they gonna reach out. How's life going? How's things going? What you need help with, what you need to focus on this week. So those are two ways, in this, make it relevant for this age, DMing, or if it's somebody DMing. But if somebody in your, you know that you're around all the time just asking and just move forward with that. You do have a son. He's a teenager. What differences do you see from past generations Yeah. Versus teenagers now? Can you speak into that? Do you have any opinion on that? Yeah. Anyways, to help us it's at their fingertips now. My son is a he's a musician as well. He he's getting piano lessons online, like his teacher meets him online. I will hear him practicing and he's like following a YouTube video. When I was growing up, it was pressing fast forward, pressing rewind on a tape, right? And having to learn it. We didn't really have that experience to where I can look at a screen and learn anything. You can learn scales. You can learn modes you can learn and how to play a song. They will walk you through tutorials. Yes. And that's the difference I see now. And it's just accessible to them, like it's at their fingertips and absolutely we had to go through the trenches to figure it out and learn. And if you know how we can gospel musicians, so like a musician like Corey Henry, right? We didn't have our musicians back in the day. I didn't have access to just see a video of them. Like I literally had to hear a tape, oh, that's so and so playing. Look at the credits. But now it's here. So that's the difference, I believe is just information age. They just have it at their fingertips and it is easy to learn. A hundred percent. . Tell us more about the devotional coming up later this winter. So Meir I a menstrual it's basically a devotional and it's gonna be in three volumes. I approached it to soft, medium, loud. No. Yeah, really it's probably gonna intensify. But it, it really came from, I know that a lot of us are on the go, so I didn't want to make this long. 30 day devotional. So I wanted to break it down in three sections. And then what? And in there you will have sections of applications. You have sections to journal. And, but it is basically going to 'cause we deal. We don't say this a lot of times, but musicians deal with a lot of stuff. We are always under the microscope of critique. We get rejected. Sometimes we go for gigs, sometimes we go for jobs and we get rejected and there's a lot of stuff that we deal with that we don't talk about the financial piece the mental piece. So it's gonna be dealing with all that, like the repentance, like having a repent of heart. Just different stuff on just being a worshiper, being presence driven and not a performer. Yeah. Going after the presence of God. And just, it is gonna be different things. And I'm gonna walk you through some will be my life experiences and some will be, some general. Kind of things, but it will all have like prayer, it will have scriptures that you can reference and it is gonna be good, but it's more so just to strengthen the musician, Sanger songwriter, whoever, finds a need for it. Love that man. Love that. We wanna stay tuned for that. On Instagram, you can find him. Atreyu U Singleton. Singleton. Yep. That's S-A-T-R-E-Y. YUU. Yeah. Singleton. Yeah. You can find him there on Instagram. We're about to let you take over here on, on Omnisphere. I'm gonna say Omnisphere, but Omnisphere. Here. Get Arteria Key Lab. Just basic mini controller. I love this little thing though. It's amazing. And Omnisphere sounds incredible with it. If you stuck around for this conversation, I'm glad you did. Maybe you went ahead and skipped ahead anyway, so you don't, you didn't even hear this. Who knows. But thank you for sharing your knowledge on Omnisphere here. I encourage you guys to look into Omnisphere, look into main stage, look into Ableton Live, learn these things, get certified, get the certifications if you are a mixed engineer and doing live, get the Dante certifications. Get all the certifications. Learn as much as you can. Love it. Let's get into the omnisphere world. Just going to, start off by saying, Omnis fear is by spectro. So it is a huge BST. It has so many, sounds like I had this for over 10 years and I still haven't went through all the sounds yet. So what I'm gonna be showing today is basically, how you can use Omnisphere in the worship setting. And we're gonna build basically a preset, or some will say a patch from scratch. I'm not gonna put any effects on anything. This is what you can do. Out the box. So right now I have a blank canvas, if you will. And what you will see here is, um, you have live mode. You will go to this tab and right now it's off. This is how you turn it on. And basically it is nothing. This is like the default sound I have in here. So that's what you're hearing. But. This is how we're gonna build. So usually in my normal setting, I will have like a no keyboard. I'll use that, um, for keys. And, from there I will probably use a pad in there. Um, if I don't. Usually I upload sounds to it, so I will have a pad, or if not, I will just have keys and you can't really go wrong. But in this case, we have a MIDI board and I'm gonna show you how to add keys. So what the software I'm using is Omnisphere is kind of like the brain, but another VST I'm using. As well as scape. Right now this is the blank live mode. So this is turn off and this is on. So now that you have this on, we're gonna go and select a keypad. So, and I'm gonna go to my scape library and I'm just gonna, the C seven is always fire, you're gonna hear that in a second. But I usually use, the key seven. Very good. Um, and right now I have an expression pedal, so I'm gonna go in here and turn that off so it won't fade in and out. I usually use the, expression pedal for strings, and we're gonna get to that too. So I'm gonna go to Main, and this is how you turn off the expression pedal. It's right on the side. This is on, this is off. So now, and that's that. So next I like to always, layer that with an ep. So we're gonna go to the next sound. As you see, his default is clear. So we're gonna go, and I'm gonna go back to the. Keys scape library. And what Keys scape is, is all things keys, robe, they have everything, everything that you need. I use this for scoring short films and everything. So we're gonna go and I, I already have it highlighted, so I like the e piano gospel too. And as y'all gonna hear, it gives you that nice. Kind of gospel, but when it's layered with a piano, but layered with a piano, it sounds amazing. So now I'm gonna layer these together. So side note is that you're gonna go on this tab right here, and you're gonna go, I'm using, usually I have a, um, MIDI controller, but in this case we're just gonna use the mouse and keypad and it says mouse select mode, and you're gonna go latch. So what latch do is basically hold. The instrument's on. So here we go. This is it. Sound how it sounds together. So you have like the bottom and a nice warm feel. And that's tease. So now we're gonna add strings and, basically we're gonna go turn these off and, get outta the keys scape, go to all that's gonna give you all your sounds. I have this, sound I like, it's called orchestra cathedral orchestra Strings, and it's amazing. So we're gonna go, and this, and usually this is when I turn on the expression pedal. Because it gives me control over the volume. So here goes the strings. So this expression pedal down, and that's that patch right there. So how I layer my patches is basically always have like two of something to gimme different sound effects on or a different sound. So this is kind of bright. So what I'm gonna to do is add another string patch to give it some warmth. Um. And that's how I'll usually layer it. So I'll have like two sets of keys. I'll have like a normal keyboard, piano sound, and then I will have an ep, an electric piano. Then I'll have like strains bright, and then I'll have one that is, um, more so warm. And then the next one I will have is like a pad. And what a pad does is give me that bottom, , to make it sound even fuller. So that's what we're gonna do in these next two. Sounds that we're gonna get. And this is all, I'm not, as you can see, I'm not using any, I'm not doing any third party. This is all in the app. So out the box you can do this. So here goes that sound. That's the sound I added. So this is, give it another tone and now you add that with the strains that we just added before. So you can hear it like all how it coming together. So now let's add the pianos and the, I'll add just the keys from here and we're gonna add a pad just to give it some warmth. And like I said, these sounds are all in the keys scape, omnisphere library. So we'll type in path and there's like, as you can see, there's a lot to choose from. And I'm gonna go and choose this path that I kind of use a lot, and it's called basic. Dark pad wheel, and this is how it sound by itself. And usually with my pads, I don't put on an expression because I usually want that kind of to like play even with the volume down just so I can have some type of, ambiance to what I'm playing. So this is a pad right here, and you can use the pitch bin wheel, the mod wheel. I mean it will like brighten it up. And you can do that with the strings as well. So this is with the strings and the pad altogether. This is giving me that bright, that warm, and then the low feel. And from here. This is something I do, so I know indifferent software like Ableton, you can have your latch pads, but you can do all of that in here. You can have a latch pad going, and usually I put that at the last kind of segment as you see. So we're gonna add a latch pad right here, and I have some different, pads in here. And I'm just gonna grab, yes, I'm gonna grab this one right here. And this is how the pad sound. So with this one, with the mod wheel, you can brighten it up. So in a church setting, you know you can have it low and you can hit latch and basically hit it. And make sure you turn this off because if you have this on, it will latch everything. So we can be playing keys. Then I can fade in that latch, then I can add strings. This is all in the Omnisphere software. I like. As you can see, I didn't do any tweaking or anything. And one more thing. I I, 'cause I like to add different, elements and that's how you turn it off. You just hit latch, off again. So another thing I like to add is like different elements to my plan just to make it, atmospheric if you will. Um, I get this, doing a lot of movie scoring. And usually what I use is, it's called reverse piano strings. And this just give you a different element, uh, to your playing. It's right here. Yeah. Reverse piano string. So this is what it sound like by itself. So now we're gonna add strings pad, and we are gonna add that latch pad. So here we go. And I use this all in a real live setting. There's actually videos of me, doing this in a real life setting. One of the ministries I used to play at was very big on, just, it sounded like a movie. It sounded very theatrical, let me say it that way sounded very theatrical and I would just add all these sounds and patches, to make it sound, to fill the room and everything. So my last sound, I'm gonna do this one for guitar players. So this, there's this pad, and y'all probably heard this in, different soaking music, but this is like one of my favorite, pads. And as you can see on the screen, here it is right here. So I use this too. I do, uh, not shameless plug, but I have a lot of, soaking music online. And, um, I use this sound a lot, in my soaking music. It just gives it more of like, I would say earlier, more atmospheric feel. So this is what it sounds like by itself. And that's the sound. And like I said, I, I wanted to make sense. So this is what it will sound like with like strings. I will pull it up a little bit. Just so you can hear it, it gets very low on the low end and. Man right there. We just built a patch from scratch. You'll probably hear this sound a lot. I'm gonna take out the reverse piano strings and I'm gonna add this sound 'cause this is a sound people a lot of people ask me for. And I'm gonna show you how you can implement, stack mode in. This portion, so it's called Distant Memory. And what this sound is, it is like a, I use this for a swell, um, like in the beginning of a song, let's say we're in the key of F, so. And what we can do is I'm gonna put in stack mode. And what stack mode does it allows you to put certain sounds at different ends of the keyboard. I can have a sound just in the middle. I can have a sound on the end low. So, um, this is how you, so we are here in live mode. This is how you activate the stack mode. You hit, you see the stack mode note region, you hit that. And now here we're gonna go to stack and it's on and we're gonna go show all sounds. And that's that distant memory we just put in. I'm actually gonna push that to the end of the keyboard. And what I'm gonna do is go to this corner and I'm gonna have it fade in. You can do this with a lot of sounds as well. so now it's only gonna play up here. See, it's not down here. I'm gonna actually move it up some. You can move it and adjust it to where you want it. So. This is how that makes sense. So say we're doing holy forever, you can hear it now. We add strings and make it. It makes sense and there. There you have it. We just created, , a patch from scratch. I don't know why that's rhyming, but it's, yeah, you can use this in any setting. You can. There's brass in here for your churchy church gospel field. There's different things that you can use it for, and it's, for me, I use it if I'm not in Ableton. If I had to bring my software, this is usually what I'm using and I have a mini controller to control all the faders and whatnot. , but there you have it. That's omnisphere different. The software that I'm using to make this happen is, of course, I Omnisphere, VST and also keys, escapee. And like I said, keys, escapee is great for all things keys. Literally all things keys. So there you have it. Guys, thank y'all so much for sticking around to the end, a Atreyuy u Singleton on the Worship Keys podcast today. People call him Atreyuy, thank you so much for taking the time to come on the podcast. Here we're, we're filming in Atlanta, today. But thanks again for sharing with us. I'm honored, bro. I appreciate it.